The Bassist’s Bible

How to Play Every Drum Style from Afro-Cuban to Zydeco

By Tim Boomer, Mick Berry

See Sharp Press

Copyright © 2009 Tim Boomer, Mick Berry, and Chaz Bufe
All rights reserved.
ISBN: 978-1-937276-23-2

Contents

Glossary,
Acknowledgments,
Introduction (by Paul Jackson),
Preface,
The Art of Bass,
1. Acid Jazz,
2. African,
3. Afro-Cuban,
4. Blues,
5. Brazilian,
6. Cajun / Zydeco,
7. Caribbean,
8. Country,
9. Disco,
10. Drum & Bass / Jungle,
11. Flamenco,
12. Funk,
13. Gospel,
14. Hip Hop / Rap,
15. Jazz,
16. Klezmer,
17. Latin Rock,
18. Metal,
19. Middle Eastern,
20. Polka,
21. Punk,
22 Rock,
23. Surf,
24. Techno,
25. Wedding Dances,
Appendixes,
A. Standup vs. Electric,
B. Equipment,
C. Bibliography,
D. Recommended Listening,
E. The Unknown Bassist,

CHAPTER 1

Acid Jazz

Acid Jazz draws on many musical styles–Funk (mainly 1970s Funk), Soul, R&B, Hip Hop, Afro-Cuban, Brazilian, and Jazz — and it has no standard grooves. It originated in the late 1980s, but achieved greater popularity in the 1990s, especially in San Francisco and New York. Prominent Acid Jazz bands include Alphabet Soup, the Mo’Fessionals, Galactic, Brand New Heavies, Groove Collective, and Digable Planets. Instrumental music is as important as the vocals and lyrics in Acid Jazz, and the style is characterized by danceable grooves and lengthy, repetitive vamping. A typical Acid Jazz ensemble blends horns, a full rhythm section (often percussion in addition to a drum set), a vocalist (singing and/or rapping), and even a DJ. The style itself has crossed over into what is now considered modern Hip Hop, which is often characterized by melodic lines backing up a singer/rapper. (For the purposes of easy classification and historical accuracy we’ve retained the term “Acid Jazz” here.)

Acid Jazz Characteristics

Grooves: Bass lines in Acid Jazz are usually repetitive dance grooves.

Tone: Many tracks are sampled from original upright and electric bass sources. Other tones are synthesized. Effects and distortion can be used. For more choices, refer to chapters on specific styles.

Gear: When performed live (in studio or on stage), conventional instruments can be used. Much of the material comes originally from upright bass sounds — sometimes sampled and looped. Amplified acoustic or electric upright bass can be used to great effect.

Progressions: No limits. From simple one-chord “progressions” to the most complex chord patterns. (Here, as in all of the others chapters, the progressions are only examples taken from songs that we listened to while researching the style.)

1) i7 – i7 – iv7 – ii7/bii7

2) I – II7 – III7 – I

3) i7 – bVII – bIII – bVI

4) i7 – ii7 – i7 – ii7

5) i7 – V7 – i7 – V7

6) i7 – ii7 – bII7

7) i – bIII – iii

8) i7 – i7/iv7

9) Imaj7 – ii7

Tempo: Acid Jazz tempos vary according to the style of music being played.

Note: Since Acid Jazz makes use of many different styles, see the chapter covering any style in question for additional ideas on tone, gear, grooves, and progressions.

CHAPTER 2

African

AFRICA HAS ONE-FIFTH the land mass and one-seventh the population of the planet, and literally hundreds of cultures. Musical styles number in the thousands. Although a bassist may encounter other African styles, those presented in this chapter are the most common.

Contemporary African music began with the sounds and rhythms of Afro-Cuban music in the 1920s and 1930s. At that time, African composers began to create African Pop and Jazz. In the 1940s, Greek-run record labels promoted the new music developing in the Congo region. With the introduction of radio throughout Africa after World War II, and later through television, African music achieved mass popularity across the continent. As Western instruments (most importantly the electric guitar and electric bass) became cheaper through mass production, African musicians began to use them. This enabled composers to easily incorporate new developments in Western music (e.g., Rock n’ Roll, Reggae, and Funk) into African musical culture. Today, African music has achieved popularity on a global scale, influencing many other genres while continuing to develop in its own directions.

Rai

Rai developed in Algeria, primarily in the port city of Oran. Its roots go back to the early 1900s when the folk music of nomadic North African tribes was combined with romantic Arabic poetry. As 20th-century popular music spread, Western Algerian culture incorporated pop sounds and ideas into its own indigenous music. Rai is influenced by such diverse styles as Funk, Rock, Ska, Reggae, Jazz, Techno/House, and Afro-Cuban. It also uses the quarter-tone scales of Arabic music.

Prominent Rai musicians include Bellemou Messaoud (“the Father of Rai,” a trumpet player who also played bass), Khaled Hadj Brahim (“the King of Rai”), Cheb Mami (“the Prince of Rai”), Safy Boutella and Cheb Khaled (whose “Kutche” album brought Rai international recognition).

Since Rai music draws from many genres, the grooves for the styles mentioned in the first paragraph can be (and are) used in Rai. But idiomatic Rai grooves are more common.

RAI CHARACTERISTICS

Bass Grooves: Rai patterns are usually, but not always, highly syncopated and performed in an ostinato-like manner. They often consist of just the root, although they sometimes use the flat seventh, fifth, and occasionally the flat third, especially toward the end of a bar, driving the pattern toward the next bar.

Tone: Bass +3 to +9 dB, Mids flat to +3 dB @ 500 Hz, Treble flat to +3 dB. Effects can be used, such as a small amount of flange or chorus.

Gear: The plentiful use of percussion presents volume problems to upright bassists and makes electric bass more appropriate in most African styles, including Rai, although electronic upright bass can be used. Round wound strings and active EQ will help with the bright sound of African styles.

Chord Progressions: Rai progressions are predominantly in the minor keys. Unlike minor progressions in Blues and Rock, which center on the i, iv and v chords, minor progressions in Rai usually center on the tonic minor (i), the dominant (V) and the major chords of the relative major key. (For instance, the relative major of A minor is C major; its major chords, C, F, and G, correspond to the bIII, bVI, and bVII in A minor). So, the most common chords in Rai seem to be the i, V, bVII, bVI, and bIII. For example, in the key of Cm chords in a Rai progression could include C minor, Bb major, Ab major, Eb major, and G major.

1) i7 – i7 – bVII – bVII – i7 – i7 – bVII – bVII

2) i7 – i7 – i7 – i7 – bVII – bVII – i7 – i7

3) i7 – bVII – bVI – V7

4) i7 – bvii7 – bvi7 – v7

5) i7 – i 7- bVII – bVII – bVI – bVI – V7 – V7

6) I7 – I7 – V7- V7

7) i7 – bVII – i7 – bVII

8) bVII – bVI – V – bVII – bVI – V – bVI – V – i7 – bVII – bVI – V

9) i7 – i7 – IV7 – IV7 – V7 – V7 – V7 – V7 – i7 – i7

10) i7 – i7 – bVII – bVII – bVI – bVI – V – V – bVI – V – bVI – V

11) i7 – bVII – i7 – bVII

12) i7 – bVI – V7 – i7 – V7 – bVI – bVII – bIII – i7 – bVI – V7 – i7

13) i7 – i7 – bIII – bIII

QUARTER NOTE = 100 – 132 BPM

Western African Styles

Western African styles include Juju, Afrobeat, and Highlife. These styles originated in the early 20th century in Ghana and Nigeria and eventually reached their peak in Africa toward the middle of the century. This music blends African tribal songs with popular music from the West. It originally incorporated the sounds from Big Band horn sections and later adopted grooves from the Caribbean as well as Rock and Soul music.

Because Western African genres incorporate styles from North America and the Caribbean, it’s helpful to be thoroughly versed in Reggae, Ska, Soca, and Rock when playing West African styles.

Afrobeat is characterized by the “endless groove” created by repetitive bass, guitar, and percussion lines. In Juju and Highlife, although many of the bass lines are repetitive, there is ample room for improvisation. In some compositions the bass plays unison (or octave) lines with the other musicians or vocalists.

When interviewed in 1998, by Jason Gross, King Sunny Ade said, “A bass guitar is more or less like a thumb piano from the old days, in a box with some metal on top. A bass can play that so what’s the use of carry[ing] the boxes all around?”

A resurgence of Western African music, also called World Beat, in the 1980s has created a global following attracted to the music’s celebratory and joyful nature. Important Western African musicians include Fela Kuti (Afro Beat), Fela’s sons Femi and Seun Kuti (who now leads Fela’s band), Fela’s musical director Tony Allen, King Sunny Ade (Juju and Afrobeat), Chief Udoh Essiet (Highlife), Rex Jim Lawson (Highlife), and Prince Nico Mbarga (Highlife).

Orchestra Baobab play an African/Afro-Cuban fusion that is reminiscent of Cuba’s Buena Vista Social Club. After re-release of cassettes made in Senegal in 1982, the band now tours the world.

The San Francisco Bay Area’s Albino! is an example of Afrobeat in America. Another prominent Bay Area musician is bass player Baba Ken Okulolo, a native of Nigeria, who moved to the SF Bay Area in 1985 and formed three Highlife bands — The West African High-life Band, Kotoja, and The Nigerian Brothers.

West African Characteristics

Bass Grooves: Afrobeat and Juju use repetitive lines appropriate to dance music with hypnotic grooves. Highlife is more lyrical and allows more improvisation. The bassist can be in the background or can be featured as a prominent melodic player in Highlife. Bass lines are often repetitive one- or two-bar phrases.

Tone: Bass flat to +3 dB, Mids flat to +6 dB @ 700 Hz, Treble flat to -3 dB. Few or no effects. No distortion. Relatively soft dynamics are an integral part of these styles.

Gear: The plentiful use of percussion makes electric bass more appropriate than upright in most African styles, but some styles, such as African/Afro-Cuban fusion (Orchestra Baobab), are quieter and use upright. The use of 2×10″ or 4×10″ cabinets helps to cut through the percussion.

Chord Progressions: Afrobeat and Juju use a lot of one- or two-chord vamps. Highlife is more progression oriented than the other styles.

1) I/IV – V/I

2) I – V

3) I – IV/V

4) I – IV – ii7/V7 – I

5) I – V/I – I/IV – V/I

6) I – ii7

7) I – ii7 – I – V

8) IV – V – I

9) I – I/IV – IV/ii7 – V7/I

10) I – V – IV – V

QUARTER NOTE = 100 – 138 BPM

Soukous

Soukous is a type of dance music that emerged in the Congo region in the early 1960s. Soukous (“to shake” in French) is one of the most popular styles of contemporary African music in Africa, Europe, and North America. The roots of this style go back to the post-World War II era when radio stations in the Congo region played Cuban Rumba music. African musicians adapted it and created what was originally called “African Jazz.”

Prominent Soukous bands and musicians include Zaiko Langa Langa, Franco (François Luambo Makiadi), Tabu Le (Tabu Ley Rochereau), and Chief Shaba Kahamba. In the 1970s, bands such as Super Mezembe and Kanda Bongo Man came to prominence.

In the 1980s, Soukous migrated to London and Paris. Bands, sometimes including up to 20 players, often had a lineup of three or four guitars, bass, vocals, percussion and horns.

Bassist Papa Wemba rose to prominence supporting one band in Kinshai, The Republic of the Congo (called at times Nouvelle Ecriture, Nouvel Ecrita, and now Viva la Música) and another band in Paris (Nouvelle Generation, La Coeur des Grands, and now Viva Tendence)

The newer Soukous is called Soukous Ndombolo. Performers include Koffi Olomide and the groups Extra Musica and Wenge Musica.

Soukous Characteristics

Bass Grooves: Soukous grooves usually have a 16th-note feel.

Tone: Bass +3 dB, Mids flat to +6 dB @ 700 Hz, Treble flat to -3 dB. Few or no effects. No distortion.

Gear: Electric upright basses will work, but this is more of an electric style than a standup style. Effects such as flange and chorus can be used.

Chord Progressions: Chord progressions tend to be simple and are based on the I, IV, and V chords.

1) I – I – IV – IV

2) I – IV – V

3) I – I – V – V

4) I – IV/V

5) V/IV – I

6) I/IV – IV/I

7) I – V – I – V

8) V/IV – I

QUARTER NOTE = 100 – 138 BPM

Bikutsi

Bikutsi developed in the Beti culture in Cameroon. The origin of the word stems from “Bi” (more than one), “Kut” (to strike) and “Si” (the ground), translating to “strike the ground repeatedly.” Whereas Soukous began as an African Jazz interpretation of Afro-Cuban music, Bikutsi is a contemporary development based in African musical ideas. Bikutsi became popular in Western Africa by the middle of the 20th century, but only achieved wide exposure in the mid-1980s through music videos. It rivals Makossa as Cameroon’s most popular style.

The “father of modern Bikutsi music,” Messi Me Nkonda Martin, front man for Los Camaroes, simulated the traditional “balafon” instrument on an electric guitar, muting the strings by using cotton cord to tie the strings together. One of the more popular contemporary Bikutsi bands in Cameroon is Zélé le Bombardier.

Following its popularization in the mid-1980s, elements of Bikutsi began to appear in the music of American and European musicians, notably in Paul Simon’s 1990 recording, “Rhythm of the Saints.” Individuals and groups responsible for Bikutsi’s success include journalist/promoter Jean-Marie Ahanda, Theodore Epeme (Zanzibar), and Les Tetes Brulees.

Bikutsi Characteristics

Bass Grooves: Much like Soukous, Bikutsi is primarily dance music, and so the bassist’s primary job is that of timekeeper. Although occasionally played in 9/8, Bikutsi music usually has a quick 6/8 feel and the drummer usually plays the bass drum on every beat, which allows the bassist opportunities for improvisation around the consistent pulse. (To complicate matters, Bikutsi is often written in 4/4 rather than 6/8. In practice, this means that when Bikutsi is written in 4/4 two 6/8 “measures” are played within every 4/4 measure.)

Tone: Bass flat +3 dB, Mids flat +6 dB @ 700 Hz, Treble flat to -3 dB. Few or no effects. No distortion.

Gear: Electric upright basses will work, but this is more of an electric style than a standup style. Effects such as flange and chorus can be used.

Chord Progressions: Chord progressions tend to be simple and are based on the I, IV, and V chords.

1) I – V – I – V

2) I/V – I/V – I/V – I/V

3) I – IV – I – IV

QUARTER NOTE = 116 – 168 BPM

CHAPTER 3

Afro-Cuban

Salsa

Within 50 Years after Columbus discovered the New World, the Spaniards instituted slavery in Cuba. Most of the slave trade was concentrated in the western part of the island, so Afro-Cuban music developed mostly in the two largest cities there, Matanzas and Havana. The Spaniards permitted their slaves to worship (in the Catholic religion) through music and dance, which led to the merging of the two cultures in both secular and religious aspects, establishing the foundation of Afro-Cuban music. What has survived is primarily a combination of the Spanish and West African cultures (Congolese, Yoruba and Dahomean).

The styles presented here developed individually, so it’s important to recognize the uniqueness of each and its appropriate application in Afro-Cuban music. It’s even more important to recognize and understand the differences between Afro-Cuban music (commonly referred to as “Salsa”) and Brazilian music, because they’re often lumped together under the vague term “Latin Music.” The information in this chapter and the Brazilian chapter will clarify the differences between these very different styles. (Among other things, as we’ll see shortly, the foundation of Afro-Cuban music is clave rhythms; and there are no clave rhythms in Brazilian music.)

This chapter focuses on the most commonly played Afro-Cuban styles: Mambo, Cha Cha Chá, Merengue, Cumbia, Afro-Cuban 6/8, and Afro-Cuban Jazz. (Although Merengue and Cumbia originated in The Dominican Republic and Colombia respectively, they are often thought of as Afro-Cuban genres, largely due to their being dance-oriented Latin styles.) There are many other Afro-Cuban and Latin styles, but those presented in this chapter are the most important.

Salsa is the most prominent and recognizable style of Afro-Cuban music. Various stories credit the name to different sources: 1) It first appeared in the late 1940s song “Échale Salsita” by Ingacio Pineiro; 2) Cuban musician “Bigote” Escalona introduced bands as playing with “salsa”; 3) Tito Puente coined the term. Whatever its derivation, Salsa is now established as the name for Afro-Cuban music performed in a dance setting. The terms “Salsa” and “Mambo” are often used interchangeably, which is close to being accurate. Mambo is the most important Salsa style, while Salsa includes other musical forms such as Bolero.

Mambo’s & Cha Cha’s Rhythmic Roots

As percussion is the foundation of the Salsa styles, the following information on percussion is essential. The bassist, in order to fully execute and feel the music, must listen and lock in with the percussionist(s).

(Continues…)Excerpted from The Bassist’s Bible by Tim Boomer, Mick Berry. Copyright © 2009 Tim Boomer, Mick Berry, and Chaz Bufe. Excerpted by permission of See Sharp Press.
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